The Project Gutenberg EBook of The Hills of Home, by Alfred Coppel This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Hills of Home Author: Alfred Coppel Release Date: July 19, 2007 [EBook #22102] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE HILLS OF HOME *** Produced by Greg Weeks, LN Yaddanapudi and the Online Distributed Proofreading Team at http://www.pgdp.net
The river ran still and deep, green and gray in the eddies with the warm smell of late summer rising out of the slow water. Madrone and birch and willow, limp in the evening quiet, and the taste of smouldering leaves....
It wasn’t the Russian River. It was the Sacred Iss. The sun had touched the gem-encrusted cliffs by the shores of the Lost Sea of Korus and had vanished, leaving only the stillness of the dusk and the lonely cry of shore birds.
From downstream came the faint sounds of music. It might have been a phonograph playing in one of the summer cabins with names like Polly Ann Roost and Patches and Seventh Heaven, but to Kimmy it was the hated cry of the Father of Therns calling the dreadful Plant Men to their feast of victims borne into [116] this Valley Dor by the mysterious Iss.
Kimmy shifted the heavy Martian pistol into his left hand and checked his harness. A soft smile touched his lips. He was well armed; there was nothing he had to fear from the Plant Men. His bare feet turned up-stream, away from the sound of the phonograph, toward the shallows in the river that would permit him to cross and continue his search along the base of the Golden Cliffs—
The sergeant's voice cut through the pre-dawn darkness. “Oh, three hundred, Colonel.... Briefing in thirty minutes.”
Kimball tried to see him in the black gloom. He hadn’t been asleep. It would have been hard to waste this last night that way. Instead he had been remembering. “All right, Sergeant,” he said. “Coming up.”
He swung his feet to the bare boards and sat for a moment, wishing he hadn’t had to give up smoking. He could almost imagine the textured taste of the cigaret on his tongue.
Oddly enough, he wasn’t tired. He wasn’t excited, either. And that was much stranger. He stood up and opened the window to look out into the desert night. Overhead the stars were brilliant and cold. Mars gleamed russet-colored against the sable sky. He smiled, remembering again. So long a road, he thought, from then to now.
Then he stopped smiling and turned away from the window. It hadn’t been an easy path and what was coming up now was the hardest part. The goddam psychs were the toughest, always wanting him to bug out on the deal because of their brainwave graphs and word association tests and their Rorschach blots.
“You’re a lonely man, Colonel Kimball——”
“Too much imagination could be bad for this job.”
How could you sit there with pentothal in your veins and wires running out of your head and tell them about the still waters of Korus, or the pennons flying from the twin towers of Greater Helium or the way the tiny, slanting sun gleamed at dawn through the rigging of a flyer?
Kimball snapped on a light and looked at his watch. 0310. Zero minus one fifty. He opened the steel locker and began to dress.
The water swirled warm and velvety around his ankles. There, behind that madrone, Kimmy thought. Was that a Plant Man? The thick white trunk and the grasping, blood-sucking arms——
The radium pistol’s weight made his wrist ache, but he clung to it tightly, knowing that he [117] could never cope with a Plant Man with a sword alone. The certainty of coming battle made him smile a little, the way John Carter would smile if he were here in the Valley Dor ready to attack the white Therns and their Plant Men.
For a moment, Kimmy felt a thrill of apprehension. The deepening stillness of the river was closing in around him. Even the music from the phonograph was very, very faint. Above him, the great vault of the sky was changing from pink to gray to dusty blue. A bright star was breaking through the curtain of fading light. He knew it was Venus, the Evening Star. But let it be Earth, he thought. And instead of white, let it be the color of an emerald.
He paused in midstream, letting the warm water riffle around his feet. Looking up at the green beacon of his home planet, he thought: I’ve left all that behind me. It was never really what I wanted. Mars is where I belong. With my friends, Tars Tarkas the great Green Jeddak, and Carter, the Warlord, and all the beautiful brave people.
The phonograph sang with Vallee’s voice: “Cradle me where southern skies can watch me with a million eyes——”
Kimmy’s eyes narrowed and he waded stealthily across the sacred river. That would be Matai Shang, the Father of Holy Therns—spreading his arms to the sunset and standing safely on his high balcony in the Golden Cliffs while the Plant Men gathered to attack the poor pilgrims Iss had brought to this cursed valley.
“Sing me to sleep, lullaby of the leaves”—the phonograph sang. Kimmy stepped cautiously ashore and moved into the cover of a clump of willows. The sky was darkening fast. Other stars were shining through. There wasn’t much time left.
Kimball stood now in the bright glare of the briefing shack, a strange figure in blood-colored plastic. The representatives of the press had been handed the mimeographed releases by the PRO and now they sat in silence, studying the red figure of the man who was to ride the rocket.
They were thinking: Why him? Out of all the scores of applicants—because there are always applicants for a sure-death job—and all the qualified pilots, why this one?
The Public Relations Officer was speaking now, reading from the mimeoed release as though these civilians couldn’t be trusted to get the sparse information given them straight without his help, given grudgingly and without expression.
[118] Kimball listened, only half aware of what was being said. He watched the faces of the men sitting on the rows of folding chairs, saw their eyes like wounds, red from the early morning hour and the murmuring reception of the night before in the Officers’ Club. They are wondering how I feel, he was thinking. And asking themselves why I want to go.
On the dais nearby, listening to the PRO, but watching Kimball, sat Steinhart, the team analyst. Kimball returned his steady gaze thinking: They start out burning with desire to cure the human mind and end with the shadow of the images. The words become the fact, the therapy the aim. What could Steinhart know of longing? No, he thought, I’m not being fair. Steinhart was only doing his job.
The big clock on the back wall of the briefing shack said three fifty-five. Zero minus one hour and five minutes.
Kimball looked around the room at the pale faces, the open mouths. What have I to do with you now, he thought?
Outside, the winter night lay cold and still over the Base. Floodlights spilled brilliance over the dunes and the scrubby earth, high fences casting laced shadows across the burning white expanses of ferroconcrete.
As they filed out of the briefing shack, Steinhart climbed into the command car with Kimball. Chance or design? Kimball wondered. The others, he noticed, were leaving both of them alone.
“We haven’t gotten on too well, have we, Colonel?” Steinhart observed in a quiet voice.
Kimball thought: He’s pale skinned and very blond. What is it that he reminds me of? Shouldn’t there be a diadem on his forehead? He smiled vaguely into the rumbling night. That’s what it was. Odd that he should have forgotten. How many rocket pilots, he wondered, were weaned on Burroughs’ books? And how many remembered now that the Thern priests all wore yellow wings and a circlet of gold with some fantastic jewel on their forehead?
“We’ve done as well as could be expected,” he said.
Steinhart reached for a cigaret and then stopped, remembering that Kimball had had to give them up because of the flight. Kimball caught the movement and half-smiled.
“I didn’t try to kill the assignment for you, Kim,” the psych said.
“It doesn’t matter now.”
“No, I suppose not.”
“You just didn’t think I was the man for the job.”
“Your record is good all the way. You know that,” Steinhart [119] said. “It’s just some of the things——”
Kimball said: “I talked too much.”
“You had to.”
“You wouldn’t think my secret life was so dangerous, would you,” the Colonel said smiling.
“You were married, Kim. What happened?”
“More therapy?”
“I’d like to know. This is for me.”
Kimball shrugged. “It didn’t work. She was a fine girl—but she finally told me it was no go. ‘You don’t live here’ was the way she put it.”
“She knew you were a career officer; what did she expect——?”
“That isn’t what she meant. You know that.”
“Yes,” the psych said slowly. “I know that.”
They rode in silence, across the dark Base, between the concrete sheds and the wooden barracks. Overhead, the stars like dust across the sky. Kimball, swathed in plastic, a fantastic figure not of earth, watched them wheel across the clear, deep night.
“I wish you luck, Kim,” Steinhart said. “I mean that.”
“Thanks.” Vaguely, as though from across a deep and widening gulf.
“What will you do?”
“You know the answers as well as I,” the Colonel said impatiently. “Set up the camp and wait for the next rocket. If it comes.”
“In two years.”
“In two years,” the plastic figure said. Didn’t he know that it didn’t matter?
He glanced at his watch. Zero minus fifty-six minutes.
“Kim,” Steinhart said slowly. “There’s something you should know about. Something you really should be prepared for.”
“Yes?” Disinterest in his voice now, Steinhart noted clinically. Natural under the circumstances? Or neurosis building up already?
“Our tests showed you to be a schizoid—well-compensated, of course. You know there’s no such thing as a normal human being. We all have tendencies toward one or more types of psychoses. In your case the symptoms are an overly active imagination and in some cases an inability to distinguish reality from—well, fancy.”
Kimball turned to regard the psych coolly. “What’s reality, Steinhart? Do you know?”
The analyst flushed. “No.”
“I didn’t think so.”
“You lived pretty much in your mind when you were a child,” Steinhart went on doggedly. “You were a solitary, a lonely child.”
[120] Kimball was watching the sky again.
Steinhart felt futile and out of his depth. “We know so little about the psychology of space-flight, Kim——”
Silence. The rumble of the tires on the packed sand of the road, the murmur of the command car’s engine, spinning oilily, and lit by tiny sunbright flashes deep in the hollows of the hot metal.
“You’re glad to be leaving, aren’t you—” Steinhart said finally. “Happy to be the first man to try for the planets——”
Kimball nodded absently, wishing the man would be quiet. Mars, a dull rusty point of light low on the horizon, seemed to beckon.
They topped the last hillock and dropped down into the lighted bowl of the launching site. The rocket towered, winged and monstrously checkered in white and orange, against the first flickerings of the false dawn.
Kimmy saw the girls before they saw him. In their new, low waisted middies and skirts, they looked strange and out of place standing by the pebbled shore of the River Iss.
They were his sisters, Rose and Margaret. Older than he at fifteen and seventeen. But they walked by the river and into danger. Behind him he could hear the rustling sound of the Plant Men as the evening breeze came up.
“Kimm-eeeee—”
They were calling him. In the deepening dusk their voices carried far down the river. “Kimmmmm—eeeeeeeeee—”
He knew he should answer them, but he did not. Behind him he could hear the awful Plant Men approaching. He shivered with delicious horror.
He stood very still, listening to his sisters talking, letting their voices carry down to where he hid from the dangers of the Valley Dor.
“Where is that little brat, anyway?”
“He always wanders off just at dinnertime and then we have to find him——”
“Playing with that old faucet—” Mimicry. “‘My rad-ium pis-tol——’”
“Cracked—just cracked. Oh, where IS he, anyway? Kimmm-eee, you AN-swer!”
Something died in him. It wasn’t a faucet, it WAS a radium pistol. He looked at his sisters with dismay. They weren’t really his sisters. They were Therns, with their yellow hair and their pale skins. He and John Carter and Tars Tarkas had fought them many times, piling their bodies for barricades and weaving a flashing pattern of skillful swords in the shifting light of the two moons.
[121] “Kimmmm—eeee Mom’s going to be mad at you! Answer us!”
If only Tars Tarkas would come now. If only the great Green Jeddak would come splashing across the stream on his huge thoat, his two swords clashing——
“He’s up there in that clump of willows—hiding!”
“Kimmy! You come down here this instant!”
The Valley Dor was blurring, fading. The Golden Cliffs were turning into sandy, river-worn banks. The faucet felt heavy in his grimy hand. He shivered, not with horror now. With cold.
He walked slowly out of the willows, stumbling a little over the rocks.
He lay like an embryo in the viscera of the ship, protected and quite alone. The plastic sac contained him, fed him; and the rocket, silent now, coursed through the airless deep like a questing thought. Time was measured by the ticking of the telemeters and the timers, but Kimball slept insulated and complete.
And he dreamed.
He dreamed of that summer when the river lay still and deep under the hanging willows. He dreamed of his sisters, thin and angular creatures as he remembered them through the eyes of a nine-year-old——
And his mother, tall and shadowy, standing on the porch of the rented cottage and saying exasperatedly: “Why do you run off by yourself, Kimmy? I worry about you so——”
And his sisters: “Playing with his wooden swords and his radium pistol and never wanting to take his nose out of those awful books——”
He dreamed of the low, beamed ceiling of the cottage, sweltering in the heat of the summer nights and the thick longing in his throat for red hills and a sky that burned deep blue through the long, long days and canals, clear and still. A land that he knew somehow never was, but which lived, for him, through some alchemy of the mind. He dreamed of Mars.
And Steinhart: “What is reality, Kimmy?”
The hours stretched into days, the days into months. Time wasn’t. Time was a deep night and a starshot void. And dreams.
He awoke seldom. His tasks were simple. The plastic sac and the tender care of the ship were more real than the routine jobs of telemetering information back to the Base across the empty miles, across the rim of the world.
He dreamed of his wife. “You don’t live here, Kim.”
She was right, of course. He [122] wasn’t of earth. Never had been. My love is in the sky, he thought, filled with an immense satisfaction.
And time slipped by, the weeks into months; the sun dwindled and earth was gone. All around him lay the stunning star-dusted night.
He lay curled in the plastic womb when the ship turned. He awoke sluggishly and dragged himself into awareness.
“I’ve changed,” he thought aloud. “My face is younger; I feel different.”
The keening sound of air over the wings brought a thrill. Below him, a great curving disk of reds and browns and yellows. He could see dust storms raging and the heavy, darkened lines of the canals.
There was skill in his hands. He righted the rocket, balanced it. Began the tricky task of landing. It took all of his talent, all of his training. Ponderously, the ship settled into the iron sand; slowly, the internal fires died.
Kimball stood in the control room, his heart pounding. Slowly, the ports opened. Through the thick quartz he could see the endless plain. Reddish brown, empty. The basin of some long ago sea. The sky was a deep, burning blue with stars shining at midday at the zenith. It looked unreal, a painting of unworldly quiet and desolation.
What is reality, Kimmy?
Steinhart was right, he thought vaguely. A tear streaked his cheek. He had never been so alone.
And then he imagined he saw something moving on the great plain. He scrambled down through the ship, past the empty fuel tanks and the lashed supplies. His hands were clawing desperately at the dogs of the outer valve. Suddenly the pressure jerked the hatch from his hands and he gasped at the icy air, his lungs laboring to breathe.
He dropped to one knee and sucked at the thin, frigid air. His vision was cloudy and his head felt light. But there was something moving on the plain.
A shadowy cavalcade.
Strange monstrous men on fantastic war-mounts, long spears and fluttering pennons. Huge golden chariots with scythes flashing on the circling hubs and armored giants, the figments of a long remembered dream——
He dropped to the sand and dug his hands into the dry powdery soil. He could scarcely see now, for blackness was flickering at the edges of his vision and his failing heart and lungs were near collapse.
Kimmm-eee!
[123] A huge green warrior on a gray monster of a thoat was beckoning to him. Pointing toward the low hills on the oddly near horizon.
Kimmmm-eeeee!
The voice was thin and distant on the icy wind. Kimball knew that voice. He knew it from long ago in the Valley Dor, from the shores of the Lost Sea of Korus where the tideless waters lay black and deep——
He began stumbling across the empty, lifeless plain. He knew the voice, he knew the man, and he knew the hills that he must reach, quickly now, or die.
They were the hills of home.
This etext was produced from “Future Science Fiction” No. 30 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.
The original page numbers from the magazine have been preserved.
The following errors have been corrected:
Error | Correction |
cooly | coolly |
fantasic | fantastic |
End of the Project Gutenberg EBook of The Hills of Home, by Alfred Coppel *** END OF THIS PROJECT GUTENBERG EBOOK THE HILLS OF HOME *** ***** This file should be named 22102-h.htm or 22102-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/2/2/1/0/22102/ Produced by Greg Weeks, LN Yaddanapudi and the Online Distributed Proofreading Team at http://www.pgdp.net Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.